To honor Peter Matthiessen, who passed away over the weekend, The New Yorker unlocked part of one of the author’s best pieces of travel writing. The piece, titled “The Last Wilderness,” follows Matthiessen as he travels down the Amazon River. (His last novel comes out this week, as well.)
In his review of Lee Friedlander’s collection, Playing for the Benefit of the Band: New Orleans Music Culture, Nathaniel Rich remarks on the “unsettling beauty” of the artist’s photographs.
Out this week: Brown Dog by Jim Harrison; a new paperback edition of Heidegger’s Poetry, Language, Thought; In the Night of Time by Antonio Muñoz Molina; a collection of Nick Hornby’s Believer columns; and a new biography of William and Dorothy Wordsworth.
Essay Liu‘s essay “Seven Days After Father” has been translated by Kevin T. S. Tang for Blunderbuss Magazine and presents a daughter’s sincere grief confused by custom. “‘The funeral director forbids tears as we approach your coffin, but demands that we weep on our return. This is the movie script we’ve been handed, one we’ll be beholden to for days, and I know that many things are not mine to decide anymore. Even our tears have been planned for us.”
Emily Dickinson didn’t get out much, so why should we have to in order to read her work? Her open access manuscripts, letters, and envelope scribbles are now available online in the Emily Dickinson Archive. But now there’s controversy over who is the rightful owner of her manuscripts and who should shape the archives — Harvard or Amherst?